Represented by Decent Music PR and supported by an Ohio Arts Council Grant Award through the Artists with Disabilities Access Program, rising alt-pop artist VIAA is back with her electrifying new single, “Arson.” Written and produced by VIAA (Mia Coleman) alongside Mori Einsidler and Troi Irons, the track burns with emotional intensity, blending alt-pop, pop-punk, emo, and electronic sounds into a powerful anthem of release. Mixed by Bartees Strange and mastered by Mike Tucci, “Arson” captures the raw, unapologetic energy of artists like Fefe Dobson, MUNA, Deb Never, and Willow Smith. In this exclusive interview with Urbanista Magazine, VIAA opens up about the creative fire behind her latest release and the journey fueling her bold artistic evolution.
How did your early forays into indie pop and R&B lead to the genre-blending sound we hear on “Arson”?
I was writing music that I genuinely liked back then, but it was influenced by what I thought people wanted to hear from me. From the pop/R&B music I made, to the music I make now, the content of my lyricism has remained pretty much the same, but now with production skills and time away from Los Angeles, the instrumentation of my music matches the lyricism a bit more. So it was more or less great practice in music making overall and experimenting with finding my sound.
As a Black woman in alternative music, have you encountered unique challenges, and how have they influenced your artistry?
I wouldn’t say they’re unique challenges — I relate to so many other Black artists making alternative art. Those challenges include being suppressed by the “algorithms” in general for being Black vs if I was a white artist, and not being accepted in a genre that people wouldn’t assume is very Black. Some of the first popular/alternative music was made by Black women, like Sister Rosetta Thorpe. I think non-Black people treat Black artists like they are imposters in the alternative genre, which leads us to believe we are imposters, sometimes deterring us from making alternative art. That’s a challenge I feel is necessary to overcome, because we’re not imposters–we’re the ultimate alternative artists considering how unwelcome and uninvited we are to most tables.
Your music often transforms personal pain into pop bops — what’s the philosophy behind that approach?
I always wanted to make pop music, but my favorite kind of pop music to listen to had hidden messages or dark lyricism within really upbeat or flowery music — I love that contrast. It’s unexpected that pop music will be deep and subversive. As a Black person in America, it’s satisfying to subvert people’s expectations of who I am and the music I make.
How do moments of rage, softness, and joy coexist in your creative process?
I have a hard time feeling rage actually. It’s something my therapist says I should try to feel more often lol. Softness exists in my creative process through my commitment to living a soft, easy life despite how hard things are here – making music from a place of contentment and peace rather than urgency and expectation. Joy co-exists through allowing myself to be a kid again when I make music; it’s a very childlike thing to play and express yourself, it’s cathartic in that way.
Can you share a memory or story from your childhood that continues to inspire your music today?
When I was a teenager, my Granddad passed away. At his funeral eulogies were shared about how he was the music and choir director for his local church in Charlotte, North Carolina and that he would tour with the band/choir along the east coast to encourage other Black kids to join their local music programs; to find purpose and hopefully stay out of trouble. I never knew any of that when he was alive. One memory I have of him when living, was when I was a pre-teen — he saw a video of me singing at some talent show, pulled me aside, and told me to never stop singing or sharing my gifts. That memory and his legacy are huge inspirations for me.
How does vulnerability play a role in your lyrics, and are there times it’s difficult to share certain experiences in your songs?
Ironically, being a songwriter, it is difficult for me to be vulnerable-especially if it comes to family or upbringing. I tried to push myself to be more vulnerable with my lyrics in Arson and in this new ep Feels Good in the Shade, but I’d like to be even more vulnerable and specific in my next project. I allude to things in my lyrics, but they can be vague or nebulous– I want to be even more uninhibited moving forward.
You co-produced the track with Mori Einsidler and Troi Irons — how did collaboration shape the final sound?
I sent the demo to Troi Irons first who added some really cool electric guitar to the chorus and created an alternative rhythmic beat from what I made, and I liked that better. After that I worked with Mori who added some folky, guitar twang to the whole song and gave it some pop sensibility. Then Bartees Strange polished it with the mixing and some effects to solidify its identity.
Thematically, “Arson” is about burning down what no longer serves you — how do you translate such intense emotions into musical dynamics?
I specifically wanted an instrumental chorus for this song to symbolize the emotion, rather than using my voice or lyrics to articulate it. I wanted the chorus to feel like you are in a car with the windows down resolutely driving away-moving on from what no longer serves you.
Are there any songs or artists whose sound inspired the sonic palette of “Arson”?
I was inspired by Donna Missal’s song “How Does It Feel”, Gothic Tropic’s song “Make Up Bad”, Smashing Pumpkins song “Tonight”, Radiohead’s Ok Computer album, the artist Yuno, and the band h09909.
What’s next for you creatively — any new sounds or directions you’re excited to explore after this single?
I’m working with Bartees Strange for this next project. I’m going to record with more live instruments and lean more into the “Arson” sound: folk, alt pop, and maybe add some classic country elements. It will feel more vulnerable and stripped away compared to the digital leaning sound I’ve historically made.
https://open.spotify.com/track/4UZ3bchPacnXsIT9LQ77lg?si=a99ddb57d11245d8
